Rihanna doesn’t appear to have babies on the brain at the moment.

RiRi seemed to throw some cold water on pregnancy rumors with her response to a content creator on Wednesday (April 15).

Krissy Clemons, who runs the @EverybodyHateKrissy account on IG, posted a video surrounding speculation of Rihanna being pregnant with baby No. 4 at the moment, which made its way onto the Fenty mogul’s radar, as Rih hopped into the comment section with a word.

“Is the baby in the womb with us?” she quipped.

Fans had a laugh at Rih’s cheeky response, which has compiled 250 likes. “And the only voice that matters in this situation has spoken,” one person wrote.

Another chimed in: “They won’t let your womb alone bruh!”

Rihanna looks to have changed her tune a bit from the top of the year, when she insinuated she had baby fever for 2026. Back in January,  Love Island alum Montana Rose Brown posted a video about how she’s ready for another baby this year, which drew the superstar’s attention.

“Deciding whether to get hot and sexy or get pregnant in 2026,” Brown wrote. Rih commented back: “Wait! So I’m not crazy then?”

Rihanna and A$AP Rocky welcomed daughter Rocki in September, their third child together alongside RZA (3) and Riot Rose Mayers (2).

It remains to be seen if the Grammy-winning singer will have baby No. 4 with Rocky, who’s set to embark on a global tour this year, later in 2026. Her last pregnancy reveal came in elegant fashion while attending the Met Gala last May.

On the music side, the Navy is still patiently waiting for R9, as Rihanna’s last album, Anti, celebrated its 10th anniversary in January.

Is Boards of Canada about to end its 13-year-long hibernation? If a cryptic poster run by Warp Records is anything to go by, maybe.

The beloved British independent label dropped a bombshell for BoC’s long-suffering fanbase, with a string of puzzling images that raise more questions than offer answers.

The posters, which are captured in a post shared on Warp’s official social channels, without comment, depict zombified children, an image that ties in with the artwork for BoC’s magnum opus from 1998, Music Has The Right to Children. And each image is stamped with a brand that invokes the electronic act’s Hexagon Sun logo.

The easter eggs don’t end there. New York and London phone numbers can be seen among the images, the edge of a “City of Westminster” street sign is visible in one, and a star on the Hollywood Walk of Fame can be spotted on another.

What it all means, only time will tell.

Boards of Canada is the Scottish electronic music duo of brothers Mike Sandison and Marcus Eoin, a universe-building pair that is both enigmatic, secretive and adored by connoisseurs of minimal electronic music.

The siblings rarely give interviews and have performed only a small handful of live shows, mostly in the late 1990s and early 2000s. Their fourth and most recent album release was 2013’s Tomorrow’s Harvest. That collection peaked at No. 7 in the U.K., for their first top 10 appearance, and at No. 13 on the Billboard 200, their first appearance on the all-genres U.S. albums chart. That release, too, enjoyed a subtle promotional push with a string of clues drip-fed for fans to gobble up.

In 2019, a comeback of sorts with “XYZ,” a previously-unreleased tune from their Peel Session of July 1998, which appeared on a new Warp Records 30th anniversary package, WXAXRXP Sessions.

BoC’s impact, however, can’t be measured in hits, or streams.

Warp’s teaser could allude to a Record Store Day exclusive, appearing just days out from the annual celebration of vinyl record stores. BoC’s most recent Instagram post dropped 34 weeks ago, announcing the 30 years anniversary of their first publicly-available vinyl mini album Twoism and a new batch available on wax.

A jury in New York has found that Live Nation runs an unlawful monopoly that touches multiple corners of the concert industry. But it will take some time before we find out the consequences.

The blockbuster verdict, which came down on Wednesday (April 15) after a monthlong trial and four days of jury deliberations, is limited to findings of liability. That means jurors were asked only to decide whether Live Nation monopolized the market for primary concert ticketing and unlawfully required artists to use its promotion services in order to play its amphitheaters — and they answered a resounding “yes” on all counts.

Live Nation will now ask U.S. District Judge Arun Subramanian to overrule that verdict and enter judgment in its favor. If he declines to do so, it’s this judge who will then be tasked with deciding what the ruling practically means for Live Nation’s future by way of a “remedy” — that is, an order for the company to pay financial damages and/or change the way it does business.

Critics of Live Nation, including the state attorneys general that litigated the trial, say the remedy should be the forced divestiture of Ticketmaster. The states’ antitrust case rested on the theory that controlling both ticketing and artist promotion gives Live Nation an anticompetitive edge — specifically, because it threatens to withhold concerts from venues that don’t use Ticketmaster as their primary ticketer. The jury’s verdict could be interpreted as endorsing this argument.

Judge Subramanian could alternatively allow Live Nation to keep Ticketmaster but require the company to sell off other assets, such as certain amphitheaters it owns. Lauren Spahn, an entertainment partner at the law firm Buchalter, says this could be a strategic way for the judge to “weaken [Live Nation and Ticketmaster] without completely killing the combined companies.”

While judges do have the power to split up companies, dating back to the breakup of Standard Oil in 1911, such orders have become rare in the modern court system. In 2024, for example, Google was found liable at trial for monopolizing the online search market. But when it came time for remedies, a federal judge declined to order the forced divestiture of Google’s Chrome browser or its Android operating system.

In the Google search case, the judge instead required the tech giant to change its contracting practices and make certain data available to rivals. It’s possible this case will have a similar outcome, with Judge Subramanian deciding to order damages and putting operating guardrails in place for Live Nation in lieu of a forced divestiture.

Such guardrails could include limiting Live Nation’s use of exclusive ticketing contracts, capping fees or requiring the company to open up its amphitheaters to rival promoters. Live Nation already agreed to make many such changes to its business practices — and create a $280 million payment fund — as part of a proposed settlement with the Department of Justice (DOJ) struck a few days into the antitrust trial. The company said in a statement on Wednesday, “We remain confident that the ultimate outcome of the states’ case will not be materially different than what is envisioned by the DOJ settlement.”

This could get complicated, though. The settlement still needs Judge Subramanian’s approval, and numerous state attorneys general who initially sued Live Nation alongside the DOJ criticized that deal as too lenient before forging ahead with the trial on their own. This now puts Judge Subramanian in the awkward position of simultaneously being asked, by two sets of government agencies that were once litigation partners, to both approve a settlement and order a more stringent structural remedy on the same set of facts. Kenneth Dintzer, an antitrust partner at Crowell & Moring who spent 33 years at the DOJ, says the situation is “unprecedented.”

“Nobody’s ever seen something quite like this,” Dintzer tells Billboard. “So exactly how these cards are going to be shuffled is anybody’s guess.”

The process won’t be quick, either. It could take months, or even up to a year, for Judge Subramanian to gather all the arguments and evidence he needs to come up with detailed decisions on both the settlement and a proposed remedy. Then there’s the appeal. Live Nation has said it “can and will appeal any unfavorable rulings,” and this could drag the proceedings out for at least another year.

In other words, says Spahn: “It’s going to take a while before anything trickles down to the consumer level.”

After sharing a glimpse of Ariana Grande taking the infamous Meet the Parents lie detector test, Universal Pictures dropped the first trailer for Focker-in-Law, the fourth film in the franchise, late Wednesday (April 15).

The trailer introduces Grande’s character Olivia Jones, a lovable former FBI negotiator who’s meeting her boyfriend Henry Focker’s (Skylar Gisondo) family for the first time. The video opens with the same scene as Tuesday’s teaser, with Grande in the hot seat and hooked up to a polygraph test administered by none other than Jack Byrnes (Robert De Niro), the tough-to-impress, untrusting patriarch from the original 2000 Meet the Parents film. As Byrnes’ questions begin to heat up, Olivia’s potential future father-in-law, Greg Focker (Ben Stiller), walks into the room.

“Would you like to ask me some questions, Greg?” Olivia asks her boyfriend’s dad.

“Do you think I hold Henry emotionally hostage?” Greg quickly retorts.

“I mean, yeah. You call him ‘Wee Wee,’” Olivia replies truthfully. “What is that? Like a joke about his wee wee?”

The trailer continues with Grande’s character fitting in easily with the Focker family as she charms them with her impressive career, ability to win over their scary German shepherd, and hostage negotiation skills.

“I pull the strings of the hostage takers, like strategic emotional puppetry,” Olivia explains to Henry’s family during one dinner scene. “That’s how I’m gonna free Henry from you, Greg.”

While the rest of the family is immediately taken with Olivia, Greg is not convinced. The two spend the rest of the trailer embroiled in a hilarious back-and-forth as Greg does everything in his power to one-up Olivia and expose her emotionally manipulative ways that only he sees.

Focker-in-Law is Grande’s first film since the two-part 2024 and 2025 Wicked movies, the first of which earned the pop star her first Academy Award nomination. The Grammy winner’s other acting credits include the 2021 Netflix film Don’t Look Up, the Ryan Murphy series Scream Queens and Nickelodeon’s Victorious and the spin-off Sam & Cat.

Focker-in-Law hits theaters Nov. 25. Watch the trailer below.

You oughta know what you’re doing if you’re going to cover a song this iconic.

Pop punk princess Avril Lavigne released a cover of fellow Canadian superstar Alanis Morissette‘s 1996 single “Ironic” on Wednesday (April 15). The cover is part of the soundtrack for the Canadian romantic comedy Mile End Kicks, releasing theatrically in Canada on Friday.

Lavigne’s cover stays true to Morissette’s original version. Lavigne begins the song with the same soft vocals and acoustic guitar riff as Morissette before the track swells with an electric guitar-led band in time for the chorus. Lavigne’s rendition is not the first time she’s sung the song. In 2005, Morissette invited Lavigne to duet on the track with her at Los Angeles’ House of Blues.

“Ironic” is the third single from Morissette’s third studio album, Jagged Little Pill. The song is Morissette’s highest-charting Hot 100 hit, having spent 32 weeks on the chart and peaking at No. 4. Released in 1995, Jagged Little Pill topped the Billboard 200 for 12 weeks and spent 127 total on the chart. The LP was the Billboard Year-End No. 1 for 1996. The album went on to be the inspiration behind a 15-time Tony-nominated Broadway musical of the same name in 2018.

Lavigne debuted three years after Jagged Little Pill‘s release with her album Let Go. In the time since her debut, Lavigne has scored 20 Hot 100 hits, including her 2007 chart-topping single “Girlfriend.” Her latest studio album Love Sux was released in 2022 and peaked at No. 9 on the Billboard 200. Lavigne’s “Ironic” cover is her first release since she collaborated with Yellowcard on their single “You Broke Me Too” in October 2025.

Listen to Avril Lavigne’s “Ironic” cover below.